Introduction
“The course of true love never did run smooth” (Shakespeare 1.1.134). This quote ironically represents the complex relationships full of romantic complications which dominate the plot of A Midsummer Night’s Dream. Written as a romantic comedy where marriage is the central theme, Shakespeare presents various views on love and matrimony through the subplots of various relationships, albeit being used as a vehicle for humor. Marriage is shown to be a highly pragmatic and social institution rather than one based on love, highlighting that each couple in the play has their own purposes fo getting married.
Theseus and Hippolyta
The wedding of Theseus and Hippolyta serves as the primary plot event which brings all the characters together in the play. Theseus was the well-liked and charismatic Duke of Athens while Hippolyta was the Queen of the Amazons. Despite both seemingly loving and compassionate to each other, the origin of their relationship is controversial. Throughout the play, Theseus demonstrates patriarchal spirit, and his marriage to Hippolyta is the further demonstration of such patriarchy and control. When Theseus exclaims his desire to marry Hippolyta, she mentions that the four days will be over shortly. There are various interpretations of the play which portray Hippolyta as either happy and excited, or resigned and cold to the idea. However, by the end of the play, she is seemingly happy and flirtatious with Theseus after spending time on a hunt with him.
The marriage of Theseus and Hippolyta is significantly about power and politics more than anything else. Theseus defeated Hippolyta in conquest, “Hippolyta, I wooed thee with my sword / And won thy love doing thee injuries” (Shakespeare 1.1.17-18). Theseus brought her to a foreign country where she is powerless, highlighting the power differential between them where is he is a ruler and she is essentially a prisoner. By modern standards, this is a coerced marriage. One that benefits Theseus in his personal ego and political capital as the conqueror of exotic and foreign, both literally in war and metaphorically in love.
The Young Lovers
The intertwined love affairs and relationships between Lysander, Helena, Hermia, and Demetrius are complex. Lysander and Hermia are the only couple in the play that demonstrate a resemblance of true unconditional love, desiring to marry without any obligations or societal rules. However, Hermia is not allowed to do so because her father Egeus opposes it and has selected Demetrius as her husband. Societal rules as initially enforced by Theseus is that the father has the full power of selecting a partner for her daughter, or she faces consequences of death. This is the full demonstration of pre-arranged marriage which many societies historically and in modern day practice, due to cultural beliefs but also traditions of patriarchy.
Meanwhile, Demetrius and Helena are previous lovers and confused individuals. Their relationship is one of unrequited love as well as simple unawareness of what the other wants. Helena shows deep emotional affection but is abused by Demetrius as a result of this. Their marriage in the end comes only as a result of the love potion applied by Oberon. In both relationships, as young lovers, Shakespeare emphasizes the concept of infatuation and physical beauty as the driving force. In the end, both marriages only occur due to magical intervention and a noble decree, that once again highlights that it is not love which conquers love, but rather societal rule and power from within.
Oberon and Titania
Oberon and Titania are the King and Queen of the Fairies, and the only characters in the play that have been together for a long time, presuming already married. Their relationship early on is defined as unstable and full or quarrel. Both are also controlling, both of each other and the other couples in the play. In their argument over the custody of the Indian boy, their actions create chaos in the world. Both are stubborn and powerful, and the impasse causes a divide in the marriage which drives Oberon to seek revenge. However, after Oberon’s anger has passed, he seeks to reverse the prank because he pities Titania and wants to have her to himself again.
Oberon and Titania’s separation leads to the world becoming barren. Therefore, the couple must be joined out of necessity for the survival of the world. This further highlight’s Shakespeare’s dissatisfaction with love, rather emphasizing that power and fertility are the key factors in a marriage union. However, that is not to say that love does not exist between the two, it takes on a different form because of their time spent together. Their grievances, tricks, and arguments serve as a contrast to the other couples who are highly infatuated and full of passion still looking for a partner. However, Oberon shows compassion towards Titania, and she, in turn, realizes her neglect towards him which allows them to rekindle their relationship and ultimately co-exist together amicably for the benefit of the world. “Now thou and I are new in amity” (Shakespeare, 4.1.91).
Shakespeare’s Point
The various concepts of love are represented by Shakespeare as largely ingenuine despite the play being a romantic comedy and one of the most romantic stories by the playwright. Love is seen as powerless and infatuated young lovers, fairies meddling in relationships with magic, and forced love. All the couples in the play, in the end, received the ‘happy ending’ of being married, despite only one being a resemblance of true love. Shakespeare sought to explore the concept of marriage and true love, perhaps indicating that these factors do not require mutual inclusivity as most people believe. Perhaps he is trying to suggest that love is not essential for marriage, but if it is present, it differs significantly in nature for everyone.
From a societal point of view, marriage is a logical continuation of relationships and necessary father subsequent birth of children. During Shakespeare’s time, and even to some extent in the modern-day, marriage was less about love but rather a legal contract that focuses on consolidation and future transmission of property (to children) and other societal obligations. By portraying the various perspectives of marriage, Shakespeare is trying to indicate that love is not the sole point of marriage. In fact, it rarely is, rather underpinned by the concept of lust as dictated by Oberon at the end of the play “Now, until the break of day / Through this house each fairy stray / To the best bride-bed will we / Which by us shall blessed be” (Shakespeare 5.2.33-36). Considering that marriage is the necessity from a societal perspective, it does not matter whether the marriage is based on lust, deception, or socioeconomic and political expediency.
Conclusion
From the various perspectives of love and marriage in A Midsummer Night’s Dream, it is evident that Shakespeare does not see love as the idea that should be the basis of marriage. The discussed subplots and themes underline the concept of love as being a fleeting notion rather than permanent. Marriage is a social union, therefore based on highly practical and lasting principles such as power and security or offspring.
References
Shakespeare, William. A Midsummer Night’s Dream. Shakespeare.MIT. Web.